日治臺灣北部長老教會音樂人才養成初探—以廣播節目為出發點

Abstract

北部長老教會在臺灣日治時期（1895-1945）的洋樂發展中扮演了重要角色。但由於史料取得不易，關於北部長老教會音樂人才養成的研究仍相當有限，且大多侷限於口述歷史。本研究整理「臺灣日日新報聲音文化資料庫」北部長老教會參與廣播節目演出紀錄與相關報導，並輔以加拿大宣教報告書等一手史料，試圖重建日治時期北部長老教會音樂人才養成概況。本文首先簡述北部長老教會於日治時期為音樂人才養成而進行的音樂教學與活動，接著介紹具有音樂才能的外國宣教師在音樂教學上的貢獻與影響，最後分析臺灣本地人的廣播演出，以呈現北部長老教會音樂人才養成的成果以及其對當時社會的影響。 在外國宣教師方面，除了文獻中常見對北部長老教會音樂人才養成有貢獻的吳瑪利牧師娘和德明利姑娘外，還有5位新發現的宣教師在北部長老教會共同進行音樂教學。這為我們提供了一個新的視角，即北部長老教會之所以音樂人才輩出，是一群具有音樂才能的宣教師合作的結果。 臺灣本地人的廣播演出分為聲樂和器樂兩部分。聲樂部分在北部長老教會幼稚園演唱兒歌，主日學齊唱、聖詩隊合唱臺語和日語詩歌，到淡水中學合唱團（Glee Club）和MG合唱團重唱或合唱較大型複雜的曲目，展示了教會因材施教的聲樂教學。淡水中學合唱團（Glee Club）演出形式和曲目則聯結到陳清忠同志社Glee Club經驗，進一步說明19世紀歐美的合唱歌曲主流以及其對日本合唱團體的影響。器樂演出者大多出自北部長老教會學校。他們演奏的曲目不僅包括吳牧師娘和陳信貞器樂教學使用的教材，還有許多其他曲目。北部長老教會學校器樂教學培養了許多教會器樂服事的能手，並向所有願意學習的臺灣人開放。器樂人才畢業後，為臺灣西洋音樂發展做出不同程度的貢獻，也為臺灣的鋼琴教育奠定了基礎。

The Northern Presbyterian Church played an important role in the development of western music in Taiwan during Japanese colonial period (1895-1945). However, it is not easy to obtain historical materials, and research on the cultivation of musical talent in the Northern Presbyterian Church is still limited, and most of it is even confined to oral history. For this reason, this study compiles the records and reports of Presbyterian Church radio performances from the “Taiwan Nichinichi Shinpo Sound Culture Database”, and supplements them with primary sources such as Canadian missionary reports, in an attempt to reconstruct an overview of the cultivation of musical talent in the northern Presbyterian churches during the Japanese colonial period. This paper first briefly describes the music teaching and activities carried out by the Northern Presbyterian Church during the Japanese colonial period, then introduces the contribution and influence of musically gifted foreign missionaries in music teaching, and finally analyzes the radio performances of Taiwanese locals, to present the achievements of the Northern Presbyterian Church in cultivating musical talents and its impact on society at that time. As for foreign missionaries, in addition to Mrs. Margaret Gauld and Ms. Isabel Taylor, who are commonly seen in the literature as contributors to the cultivation of musical talents in the Northern Presbyterian Church, there are five newly discovered missionaries who jointly taught music together in the Northern Presbyterian Church. This provides us with a new perspective that the reason why musical talents emerged in large numbers in the Northern Presbyterian Church is the result of the cooperation of a group of musical talented missionaries. The analysis results of local Taiwanese radio performances can be divided into two parts: vocal and instrumental. The vocal part ranges from the Northern Presbyterian Church’s kindergartens singing children’s songs, Sunday school students unison singing and church choir choral singing Taiwanese and Japanese hymns, to the Tamsui Middle School Glee Club and the MG Choir that ensemble or choral singing large and more complex pieces. demonstrating the church's ability to tailor its vocal teaching to the needs of its students. The performance format and repertoire of the Tamsui Middle School Glee Club are connected to Chen Qingzhong’s（陳清忠）experience in Doshisha Glee Club, further illustrating the mainstream of European and American choral songs in the 19th century and its influence on Japanese choral groups. Most of Northern Presbyterian Church's instrumental performers come from Northern Presbyterian Church schools. The repertoire they performed not only include in the teaching materials used by Mrs. Margaret Gauld and Chen Xinzhen（陳信貞）, but also many other repertoires. The instrumental music teaching at the Northern Presbyterian Church School has cultivated many talented individuals for the church instrumental music ministry and was open to all Taiwanese who were willing to learn. After graduation, these instrumental music talents have made varying degrees of contributions to the development of Western music in Taiwan, and have also laid the foundation for piano education in Taiwan.